Datameister

Fine.  Edited.
 
But here's the source of the lyrics I posted, and the line sounds okay to me here:
 
 
If you still think it's wrong, I don't know what to tell you.  Is it perfect?  No.  But this is classic Youtube right here.

I'm loving all the lyrics being shared, but the flagrant disregard for the natural prosody of the music is devastating. Stretching the word "it's" over four notes? Stressing the first and last syllables in "skyscraper"? Using "Skywalker" to add an extraneous note to the sublime first phrase of Rey's theme? Splitting "man" across two notes in the staccatoest phrase of Superman's theme, thereby pronouncing it /ˈmæʔæn/? Shameful. We're better than this. John toils for hours or days to get a melody just so, only for it to be promptly shat upon by an unstressed syllable on an accented note? Outrageous.

I'm loving all the lyrics being shared, but the flagrant disregard for the natural prosody of the music is devastating. Stretching the word "it's" over four notes? Stressing the first and last syllables in "skyscraper"? Using "Skywalker" to add an extraneous note to the sublime first phrase of Rey's theme? Splitting "man" across two notes in the staccatoest phrase of Superman's theme, thereby pronouncing it /ˈmæʔæn/? Shameful. We're better than this. John toils for hours or days to get a melody just so, only for it to be promptly shat upon by an unstressed syllable on an accented note? Outrageous.

I'm loving all the lyrics being shared, but the flagrant disregard for the natural prosody of the music is devastating. Stretching the word "it's" over four notes? Stressing the first and last syllables in "skyscraper"? Using "Skywalker" to add an extraneous note to the sublime first phrase of Rey's theme? Splitting "man" across two notes in the staccatoest phrase of Superman's theme, thereby pronouncing it /ˈmæʔæn/? Shameful. We're better than this. John toils for hours or days to get a melody just so, only for it to be promptly shat upon by an unstressed syllable on an accented note? Outrageous.

One of JW's many strengths is his knack for crafting great tunes. His best-known works tend to feature catchy, singable melodies. I don't think I'm saying anything controversial or revelatory there, nor do I think JW is the only composer who could be described that way.
 
But I want to get your thoughts on something that's a little murkier, a little more debatable. It seems to me that many of JW's great themes evoke the sounds of specific words and phrases—words and phrases that are relevant to the leitmotivic meanings at hand.
 
My favorite examples:
 
"It's a dinosaur!" in what you might call the chorus of the theme from Jurassic Park "Indiana" (and perhaps "Dr. Jones") in the Raiders March "Superman" in … well, I'll let you guess which theme  
To call any of these a stretch would be … a stretch. I have to believe that those specific clumps of syllables influenced William's composition process, whether consciously or not.
 
With other themes, the "lyrics" can be less emphatically obvious. But it's still often easy to find them. See if you can figure out which theme each of these goes to, how much of a stretch it is, and how facetious I'm being:
 
"Kevin's home alone, Kevin's home alone …" "The Rebels, the Rebels, the Rebels are coming!" "The story of Harry Potter" "Emperor Palpatine" "I'm Kylo Ren, bitch … I'm Kylo Ren" "… to the island we must go" "You are my sister" "Rey is on a journey" "E.T.'s flying on a bike now" "Voldemort … Voldemort …" "Jar Jar Binks, Jar Jar Binks, he's a clumsy character from Naboo" "Diagon Alley's hustling, Diagon Alley's bustling, Diagon Alley's where the witches and the wizards buy their [stuff]" "Ani and Obi whacking sabers"  
The list could go on and on. Especially if I could think of anything else to put on it. Here's the big question: Am I grasping at straws? Does Williams really tend to write melodies that lend themselves unusually well to horrible, on-the-nose lyrics? Or is this just what happens with a lot of hummable melodies? Then again, perhaps it's just confirmation bias, whereby I ignore the many themes that don't fit my theory?
 
Please chime in. Examples are welcome.

Will-ie Scott
is not as hot
as Mar-i-on
 
She is far too va-cu-ous
O-ver-ly la-sciv-i-ous
 
 

One of JW's many strengths is his knack for crafting great tunes. His best-known works tend to feature catchy, singable melodies. I don't think I'm saying anything controversial or revelatory there, nor do I think JW is the only composer who could be described that way.
 
But I want to get your thoughts on something that's a little murkier, a little more debatable. It seems to me that many of JW's great themes evoke the sounds of specific words and phrases—words and phrases that are relevant to the leitmotivic meanings at hand.
 
My favorite examples:
 
"It's a dinosaur!" in what you might call the chorus of the theme from Jurassic Park "Indiana" (and perhaps "Dr. Jones") in the Raiders March "Superman" in … well, I'll let you guess which theme  
To call any of these a stretch would be … a stretch. I have to believe that those specific clumps of syllables influenced William's composition process, whether consciously or not.
 
With other themes, the "lyrics" can be less emphatically obvious. But it's still often easy to find them. See if you can figure out which theme each of these goes to, how much of a stretch it is, and how facetious I'm being:
 
"Kevin's home alone, Kevin's home alone …" "The Rebels, the Rebels, the Rebels are coming!" "The story of Harry Potter" "Emperor Palpatine" "I'm Kylo Ren, bitch … I'm Kylo Ren" "… to the island we must go" "You are my sister" "Rey is on a journey" "E.T.'s flying on a bike now" "Voldemort … Voldemort …" "Jar Jar Binks, Jar Jar Binks, he's a clumsy character from Naboo" "Diagon Alley's hustling, Diagon Alley's bustling, Diagon Alley's where the witches and the wizards buy their [stuff]" "Ani and Obi whacking sabers"  
The list could go on and on. Especially if I could think of anything else to put on it. Here's the big question: Am I grasping at straws? Does Williams really tend to write melodies that lend themselves unusually well to horrible, on-the-nose lyrics? Or is this just what happens with a lot of hummable melodies? Then again, perhaps it's just confirmation bias, whereby I ignore the many themes that don't fit my theory?
 
Please chime in. Examples are welcome.

Companion thread:
 
https://www.jwfan.com/forums/index.php?/topic/19927-melodies-that-could-have-lyrics/
 
My ancient post in that thread:
 
 
 
 
Second companion thread:
 
https://www.jwfan.com/forums/index.php?/topic/29037-adding-choir-lyrics-to-existing-star-wars-pieces/
 
My post in that thread
 

I think you mean, "That is no mooooooon!"

One of JW's many strengths is his knack for crafting great tunes. His best-known works tend to feature catchy, singable melodies. I don't think I'm saying anything controversial or revelatory there, nor do I think JW is the only composer who could be described that way.
 
But I want to get your thoughts on something that's a little murkier, a little more debatable. It seems to me that many of JW's great themes evoke the sounds of specific words and phrases—words and phrases that are relevant to the leitmotivic meanings at hand.
 
My favorite examples:
 
"It's a dinosaur!" in what you might call the chorus of the theme from Jurassic Park "Indiana" (and perhaps "Dr. Jones") in the Raiders March "Superman" in … well, I'll let you guess which theme  
To call any of these a stretch would be … a stretch. I have to believe that those specific clumps of syllables influenced William's composition process, whether consciously or not.
 
With other themes, the "lyrics" can be less emphatically obvious. But it's still often easy to find them. See if you can figure out which theme each of these goes to, how much of a stretch it is, and how facetious I'm being:
 
"Kevin's home alone, Kevin's home alone …" "The Rebels, the Rebels, the Rebels are coming!" "The story of Harry Potter" "Emperor Palpatine" "I'm Kylo Ren, bitch … I'm Kylo Ren" "… to the island we must go" "You are my sister" "Rey is on a journey" "E.T.'s flying on a bike now" "Voldemort … Voldemort …" "Jar Jar Binks, Jar Jar Binks, he's a clumsy character from Naboo" "Diagon Alley's hustling, Diagon Alley's bustling, Diagon Alley's where the witches and the wizards buy their [stuff]" "Ani and Obi whacking sabers"  
The list could go on and on. Especially if I could think of anything else to put on it. Here's the big question: Am I grasping at straws? Does Williams really tend to write melodies that lend themselves unusually well to horrible, on-the-nose lyrics? Or is this just what happens with a lot of hummable melodies? Then again, perhaps it's just confirmation bias, whereby I ignore the many themes that don't fit my theory?
 
Please chime in. Examples are welcome.

One of JW's many strengths is his knack for crafting great tunes. His best-known works tend to feature catchy, singable melodies. I don't think I'm saying anything controversial or revelatory there, nor do I think JW is the only composer who could be described that way.
 
But I want to get your thoughts on something that's a little murkier, a little more debatable. It seems to me that many of JW's great themes evoke the sounds of specific words and phrases—words and phrases that are relevant to the leitmotivic meanings at hand.
 
My favorite examples:
 
"It's a dinosaur!" in what you might call the chorus of the theme from Jurassic Park "Indiana" (and perhaps "Dr. Jones") in the Raiders March "Superman" in … well, I'll let you guess which theme  
To call any of these a stretch would be … a stretch. I have to believe that those specific clumps of syllables influenced William's composition process, whether consciously or not.
 
With other themes, the "lyrics" can be less emphatically obvious. But it's still often easy to find them. See if you can figure out which theme each of these goes to, how much of a stretch it is, and how facetious I'm being:
 
"Kevin's home alone, Kevin's home alone …" "The Rebels, the Rebels, the Rebels are coming!" "The story of Harry Potter" "Emperor Palpatine" "I'm Kylo Ren, bitch … I'm Kylo Ren" "… to the island we must go" "You are my sister" "Rey is on a journey" "E.T.'s flying on a bike now" "Voldemort … Voldemort …" "Jar Jar Binks, Jar Jar Binks, he's a clumsy character from Naboo" "Diagon Alley's hustling, Diagon Alley's bustling, Diagon Alley's where the witches and the wizards buy their [stuff]" "Ani and Obi whacking sabers"  
The list could go on and on. Especially if I could think of anything else to put on it. Here's the big question: Am I grasping at straws? Does Williams really tend to write melodies that lend themselves unusually well to horrible, on-the-nose lyrics? Or is this just what happens with a lot of hummable melodies? Then again, perhaps it's just confirmation bias, whereby I ignore the many themes that don't fit my theory?
 
Please chime in. Examples are welcome.

One of JW's many strengths is his knack for crafting great tunes. His best-known works tend to feature catchy, singable melodies. I don't think I'm saying anything controversial or revelatory there, nor do I think JW is the only composer who could be described that way.
 
But I want to get your thoughts on something that's a little murkier, a little more debatable. It seems to me that many of JW's great themes evoke the sounds of specific words and phrases—words and phrases that are relevant to the leitmotivic meanings at hand.
 
My favorite examples:
 
"It's a dinosaur!" in what you might call the chorus of the theme from Jurassic Park "Indiana" (and perhaps "Dr. Jones") in the Raiders March "Superman" in … well, I'll let you guess which theme  
To call any of these a stretch would be … a stretch. I have to believe that those specific clumps of syllables influenced William's composition process, whether consciously or not.
 
With other themes, the "lyrics" can be less emphatically obvious. But it's still often easy to find them. See if you can figure out which theme each of these goes to, how much of a stretch it is, and how facetious I'm being:
 
"Kevin's home alone, Kevin's home alone …" "The Rebels, the Rebels, the Rebels are coming!" "The story of Harry Potter" "Emperor Palpatine" "I'm Kylo Ren, bitch … I'm Kylo Ren" "… to the island we must go" "You are my sister" "Rey is on a journey" "E.T.'s flying on a bike now" "Voldemort … Voldemort …" "Jar Jar Binks, Jar Jar Binks, he's a clumsy character from Naboo" "Diagon Alley's hustling, Diagon Alley's bustling, Diagon Alley's where the witches and the wizards buy their [stuff]" "Ani and Obi whacking sabers"  
The list could go on and on. Especially if I could think of anything else to put on it. Here's the big question: Am I grasping at straws? Does Williams really tend to write melodies that lend themselves unusually well to horrible, on-the-nose lyrics? Or is this just what happens with a lot of hummable melodies? Then again, perhaps it's just confirmation bias, whereby I ignore the many themes that don't fit my theory?
 
Please chime in. Examples are welcome.

I think you mean, "That is no mooooooon!"

One of JW's many strengths is his knack for crafting great tunes. His best-known works tend to feature catchy, singable melodies. I don't think I'm saying anything controversial or revelatory there, nor do I think JW is the only composer who could be described that way.
 
But I want to get your thoughts on something that's a little murkier, a little more debatable. It seems to me that many of JW's great themes evoke the sounds of specific words and phrases—words and phrases that are relevant to the leitmotivic meanings at hand.
 
My favorite examples:
 
"It's a dinosaur!" in what you might call the chorus of the theme from Jurassic Park "Indiana" (and perhaps "Dr. Jones") in the Raiders March "Superman" in … well, I'll let you guess which theme  
To call any of these a stretch would be … a stretch. I have to believe that those specific clumps of syllables influenced William's composition process, whether consciously or not.
 
With other themes, the "lyrics" can be less emphatically obvious. But it's still often easy to find them. See if you can figure out which theme each of these goes to, how much of a stretch it is, and how facetious I'm being:
 
"Kevin's home alone, Kevin's home alone …" "The Rebels, the Rebels, the Rebels are coming!" "The story of Harry Potter" "Emperor Palpatine" "I'm Kylo Ren, bitch … I'm Kylo Ren" "… to the island we must go" "You are my sister" "Rey is on a journey" "E.T.'s flying on a bike now" "Voldemort … Voldemort …" "Jar Jar Binks, Jar Jar Binks, he's a clumsy character from Naboo" "Diagon Alley's hustling, Diagon Alley's bustling, Diagon Alley's where the witches and the wizards buy their [stuff]" "Ani and Obi whacking sabers"  
The list could go on and on. Especially if I could think of anything else to put on it. Here's the big question: Am I grasping at straws? Does Williams really tend to write melodies that lend themselves unusually well to horrible, on-the-nose lyrics? Or is this just what happens with a lot of hummable melodies? Then again, perhaps it's just confirmation bias, whereby I ignore the many themes that don't fit my theory?
 
Please chime in. Examples are welcome.

You could write lyrics to almost anything though
 
"Vader is here, holy shit, holy shit."
 
"It's, the Death Star!"
 
"Hurry Indy, grab the antidote!"
 
"It's Indy, young Indy, this really is young Indy"
 
 

No offense taken on my end … as I recall, that ancient mockup was just something I threw into Finale 2004. I think my own edit managed to match the timing of the overlay a bit better, but it's still nothing I'd listen to now.

Hey, the man was capable of producing Training Montage! 😉
 
On the topic of Solo, I actually have no problem with the fact that Luke's theme is used for these moments; it pretty definitively stopped being his theme in 1999, when it acted as the main title to a film the character's not even in. I just don't like the way any of the fast variations sound in Solo.
 
The Falcon reveal works for me because the tempo isn't overcranked. It's very clearly written for audiences who've already seen the previous films, but that's fine because the films should be first viewed in release order anyway.

I don't mind the drums. Wouldn't want them in every score but I think they're a valid inclusion.
 
The only thing I truly dislike in this score is Powell's over-caffeinated approach to the Star Wars main theme. It just sounds cheesy at that speed, and not in a good way.
 
I also found the Williams quotes in Reminiscence Therapy to be awkward at first, but I've gotten used to the transitions. It helps that the performance and recording are so fantastic.

This first episode felt really fast, even though it did indeed have a lot squished into it. Curious to see where they go with the story. I don't expect it to recapture the beautifully simple magic of the first season, nor do I expect it to hold a candle to Andor's more serious and layered approach. But it's a fun diversion. And I was grateful that this episode mostly focused on characters from the show, not characters who originated elsewhere. There was way too much of that in S2 for my tastes.

What I mean in, some shows that are more "grown up", like Andor, and some shows that are more for the average fan who just wants some fun action. Seems like a decent balance, so long as they continue making more grown up content like Andor.

This would have been an easy buy if it had been released simultaneously with the digital version. Now, having already purchased that, it'll come down to the presence of absence of additional material for me. I'd be willing to double-dip for the unreleased JW demo cues. Probably not for anything else.

This would have been an easy buy if it had been released simultaneously with the digital version. Now, having already purchased that, it'll come down to the presence of absence of additional material for me. I'd be willing to double-dip for the unreleased JW demo cues. Probably not for anything else.

Definitely go for it. It showcases the entire score the way Horner recorded it. I think there are some interesting choices in the film edits (which are indeed not included), but ultimately, I too want to hear the composer's intentions. And the complete score flows really nicely. "2½ Miles Down" is a particularly hypnotic and evocative addition.

Me: Films are over-spotted with too much music, and discrete tracks are better for cherry picking for playlists. 
 
Also Me: These cues sound better segued together:
 

It really goes to show that the original recording was immaculate.  The actual tape running through the machines as the orchestra played that captured the raw audio off each microphone line and stored it on multitrack tape was fantastic.
 
It's just that the technology in the late 70s wasn't there to make mixes off that, and dub those mixes onto a different analog tape without losing something... a problem exacerbated by future albums having to use analog dubs of those analog dubs, etc
 
The fact that the original multitrack tape was perfectly vaulted by WB in their salt mines and finally unearthed for the LLL album lead to such a leap in quality as well as cool tidbits that had never made it onto other surviving tape dubs like the original Fortress of Solitude cue.
 
Basiically Mike's remixes of this and Close Encounters from the original multitrack are such great, satisfying upgrades.  If he could do the same thing for Star Wars, Empire, Raiders, Jedi, and Doom, I'll be in heaven.